The award winning psychological thriller Black Swan didn’t just write itself.
After almost a decade in the making, Natalie Portman finally danced across the silver screen as the perfectionist ballerina Nina Sayers, tormented by a terrifying combination of incredible talent and malicious mental vices.
Screenwriter John J. McLaughlin was a key player on the team of writers who scripted this dark drama.
McLaughlin currently lives in New York City and writes for film and TV.
Director, producer and UT assistant film professor Tom Garrett went to NYU’s film school with McLaughlin in the ‘80s and the two produced their first feature film together back in 1987.
Because of their unique friendship, McLaughlin agreed to speak at UT.
McLaughlin has many other impressive screenwriting credits, including Alfred Hitchcock and the Making of Psycho, Tom Clancy’s Splinter Cell (the video-game) and The Great Gatsby, but the audience seemed to be more focused on McLaughlin’s work with Darren Aronofsky’s Black Swan.
Although UT assistant professor of journalism John Capouya led the discussion, the event was casual in the sense that questions were asked as different topics came up.
McLaughlin was happy to answer candidly and at times, with a very wry sense of humor.
“[Aronofsky] wanted a ‘ballet thriller,’” McLaughlin said, “and Natalie [Portman] entered the project long before I did. She always had the part.”
McLaughlin also said he started the project “not knowing anything about ballet,” so he and the other members of the production staff went to countless live performances, immersing themselves in the exhilarating, but tumultuous world of professional ballet dancers.
“Ballet dancers have one of the shortest life spans to excel at their art,” said McLaughlin.
“It’s a lot of pressure; you’ve got to succeed quickly or you’re going to wilt. Black Swan is very much about being an artist.”
An interesting fact that seemed to surprise the crowd was that the director’s original pitch was to have Natalie Portman also play Lily, Mila Kunis’ role in the film, in addition to her own.
One student asked McLaughlin how he successfully wrote for females and other characters with traits obviously different from his own.
“You try and look for something that you do share with them,” McLaughlin began.
“I share paranoia with Natalie,” he added with a chuckle.
Each writer on the team focused on writing different aspects of the script.
“I was more the psychological horror and the ballet,” McLaughlin said.
He also helped come up with the idea of using Swan Lake as the ballet and Black Swan as the title.
“I write for a lot of female-driven movies,” explained McLaughlin.
“The black swan character was the perfect doppelganger role for someone hallucinating.”
McLaughlin gave aspiring screenwriters three hard-learned tips for success.
“Number one,” he started, “you should be the son or daughter of a celebrity or someone very powerful and rich. It’s all about connections.”
The audience laughed, thinking he was joking, but McLaughlin swiftly continued.
“Number two, you have to write a lot and you have to finish everything. You learn from each part of it: beginning, middle and end.”
“And number three,” he concluded, “don’t be afraid to get screwed. Let them screw you; let them bend you over. Take the $5 if that’s all they’re giving you. If it’s a success, you’ll make a lot more the next time.”
Even to those not entering the film world, McLaughlin’s straightforward and poignant advice seemed to speak to all who attended.
“Guest speakers like this are essential for our students who are trying to get into the industry,” said Dr. Andrew McAlister, UT assistant professor of communications.
“It seems like McLaughlin’s done it the hard way and really worked his way up. I thought the advice he gave wannabe screenwriters, especially about the need to finish projects and not hold out for huge paydays, was frank and pragmatic.”
Sophie Erber can be reached at serber@spartans.ut.edu.